is simply one manifestation of the operations carried out by IT. Conway's scientific account of #thedress has become the standard account of the phenomenon. Empirical work by Conway and Ted Gibson on how languages name colors provided evidence that reconciled relativist and universalist accounts, connecting color perception to behavior. Art Much of Conway's research is guided by the underlying thought that visual art can be used to reveal insights about how visual information is processed. An ongoing research project examines the idea that poor stereopsis may be an asset to artists (the startling finding that Rembrandt may have lacked stereopsis was widely discussed in the media). His interest in the dove-tailing of science and art has also spawned an interdisciplinary upper level course at Wellesley, Vision and Art: Physics, Physiology, Perception, and Practice. Conway has promoted engagement of museums with neuroscience, serving as an advisor to the Peabody Essex Museum in the PEM neuroscience initiative. As an artist Conway is active in visual media, predominantly watercolors, oils, and prints. He is regularly a visiting artist at the Columbus College of Art and Design. A larger, ongoing project is a series of sculptures in the shape of glass boxes. His interest is driven by fundamental questions of art making: How do brain and visual apparatus co-operate in making an art object? What is the role of muscle memory in making marks on paper and, more broadly, in the creative process? How do artists challenge the constraints and limitations of our visual system? His works are in the collection of the Fogg Art Museum, private collections in Europe, North America and Africa, and have been featured in books and commercials. Notes External links Zimbabwean people of British descent White Rhodesian people Zimbabwean emigrants to the United States Living people Neuroscientists McGill University alumni Harvard University alumni Wellesley College faculty People from Harare 1974 births